Archive for October, 2018

We’ve been busy working on a host of new features in CC2019 as part of our customer feedback. Please keep the feature requests coming . If you are new to submitting request you can find the Provide Feedback link under the Help menu in Premiere Pro and most Adobe apps.

Click on the image below to fill out feedback and feature request.

New CC2019 Features:

NEW Display Color Management

One thing that’s been missing from Premiere Pro for a long time is Display Color Management. See the above screenshot showing that Premiere Pro Program Monitor and the After Effects Composition now match in CC2019.

With new Display Color Management turned on you can leave your OS colors settings set to the system default and your colors will be presented correctly on-screen while working in Premiere Pro. Color information of your source files is not modified and will export correctly.

Display Color Management works for any internal monitor and for any secondary computer monitor used as part of the OS desktop, including HDMI, Display Port, DVI, and Thunderbolt connected displays.

Display Color Management does not support external monitors connected through video I/O cards using Mercury Transmit. These need to be configured outside of Premiere Pro.

** Note** we are just at the beginning of where we want to take Color Management and this just a first step. Stay tuned for future updates on this critical workflow topic.

NEW Selective Color Grading

We’ve been working on a new advanced Curves interface to help take the guess work out of working with Curves with Hue, Sat and Luma settings. Trust me, it’s pretty easy to see where you are pulling or pushing the color .

Selective Color Grading provides five new curve adjustment tools. The first one, Hue vs Saturation, replaces the radial “donut” and presents the same controls as a horizontal curve line.

Use the eyedropper to select a color range in your image, or manually add adjustment points as needed to manipulate the curve. A scroll bar at the bottom of the window make it easy to work on any part of the line (essentially, dialing around the color wheel.)

Hue vs Saturation
Select a Hue range and adjust the saturation level. As you drag your selection up or down, a vertical line appears and displays the saturation levels available – giving you visual guidance as you adjust.

Hue vs Hue
Select a Hue range and change it to another hue – essentially you are modifying a color range, to make it stand out more (or less) or to distinguish it from other color ranges in the image. Again, the vertical adjustment line provides a visual guide as you make the adjustment.

Hue vs Luma
Select a Hue (color) range and adjust the Luma (light). You could use this, for example, to darken a pale blue sky and add more contrast or drama to a shot

Luma vs Sat
Select a Luma range and adjust the saturation, for example to roll off the saturation in the highlight of a sunset and minimize clipping in the center of the sun which is over-exposed

Sat vs Sat
This allows you to selectively adjust saturation for a specific saturation range. For example: to ensure broadcast legal saturation levels.

NEW Support for Data Driven Graphics from AE

In After Effects CC2018 we added new support for Data Driven Graphics which allows you to use CSV and TSV files from programs like Microsoft Excel when creating Motion Graphics Templates (mogrts) . After Effects can use the data to control keyframes to control the animation, color via Hex Values, and more. New in Premiere Pro is the ability to use those After Effects Motion Graphics Templates . You can have enter data manually or you can link the data to spreadsheet and whenever the spreadsheet is updated, the template will auto update. Again, it’s a game changer for both AE and Premiere Pro users.

NEW Audio Filters for Essential Sound Panel

Our Audition team has been busy listening to feedback from customers using the Essential Sound Panel in Premiere Pro and Audition. The 2 most popular request were to improve the Reduce Noise and Reduce Reverb results when using the sliders. Both of have been updated to use new filters for better results.

We are continuing to support our fast growing VR community with new support for VR 180 cameras and workflow. Premiere Pro can now automatically recognize many of the new 180 cameras now on the market. We have also updated our effects to take advantage of the new format. VR 180 is quickly becoming the new Stereo 3D but without the glasses.